There was a part of me that wanted to take my place next to, you know, Debra Granik. She's such a hero for me.
There's no reason that a writer, if they have some discipline and curiosities and passion, can't be vital for a long, long time.
Writing a really good screenplay is not easy. It can be a very punishing form.
I want to make a series of films of contemporary America that feel urgent and deal with sometimes-topical matters, but hopefully in a universal way.
Pieces of April' was going to be a 3 to 7 million dollar film and we had three entities, two studios, and one wealthy man and they all backed out. It was quite a blow.
Something happened to me when I wrote female characters in my early plays; it was a real liberation.
When I did 'Gilbert Grape,' Lasse Hallstrom let me be on the set with him and in the editing room and in the casting sessions and so on. And so I got a firsthand, rather intimate, high-pressure look at how to make a film.
I used to find limitations frustrating, but I find them enormously liberating.
I wouldn't say I'm a religious person, but I am definitely inclined toward asking the big questions.